Brilliant director David Cronenberg followed his excellent "The Brood" with yet another fantastic feature, which explored the limits of the human body, and how it keeps evolving and morphing into something else. The film follows the story of Cameron Vale, a young man who is initially, on the streets living of scraps and leftovers. We quickly learn he has telepathic abilities, which he can't control. He gets captured and taken to ConSec, a private company that is running a "scanner" program, under the tutelage of Dr. Paul Ruth. "Scanners" is the designation given to people with telepathic abilities, and there's a current war raging between different factions, with ConSec wanting to leverage their abilities commercially, and an opposing one, under the leadership of Darryl Revok, who has far more sinister motivations. Dr. Ruth sends Cameron underground, so he can unveil Revok's motivations, and simultaneously uncover an underground ring of Scanners. What Cameron discovers is far more complex than what anyone expected. David Cronenberg has been able to build a fantastically diverse body of work. "Scanners" is one of his original screenplays, one that tackles body mutations, one of his recurring themes, during a large part of his career. These mutations are not intended to demonize the characters or to portray them as demigods, they are typically reflections on the constant evolution of the human body and how that impacts the relationships between human beings (and to a certain extent, how that conditions the notions of morality, good versus evil and also the sexual dynamics). "Scanners" is a perfect example of his point of view, since it manages to embed his concepts of mutation within the fabric of society, and how the corporate world/capitalism ambitions to monetize these changes. The film has great visual effects from Chris Walas and his team, alongside the fantastic score from Howard Shore and cinematography from Mark Irwin (all usual collaborators of Cronenberg). A great film from a truly unique talent.

Director James Cameron started his career working with Roger Corman, and had an opportunity to direct the sequel to Joe Dante's "Piranha", with "Piranha II: The Spawning" in 1981, which he directed with assistance of other professionals. "The Terminator" was his first solo directorial assignment and the first collaboration with star Arnold Schwarzenegger, then making a name for himself after John Milius' "Conan the Barbarian". The film follows the story of Sarah Connor, a waitress living in LA, who suddenly finds herself as the target of a seemingly unstoppable man, intent on killing her. In her defense comes Kyle Reese, a young man who reveals that he is from the future, as is the man trying to kill her, whom he reveals to be an actual machine, going by the name of Terminator. Sarah and Kyle have to resort to their intelligence and wit to escape the persistent Terminator.James Cameron was able right from the start, to understand that action films only resonate with audiences if there are actual characters to care for. "The Terminator" is able to draw the central characters quickly, and establish their motivations and their arc. Sarah, Kyle and the Terminator, all have very clear goals/motivations, and though their backgrounds are economically exposed, it makes them all compelling enough for the audience to embark on their journey. "The Terminator" is a B-Movie at its core, with a dash of futurism incorporated, and it's a testament to the capabilities of the director/co-writer, that the results influenced so many films that came out in the 80s (and afterwards), specifically on post-apocalyptic films. The actors are all solid in their roles, even if none of them are very memorable, but they all went on to bigger ventures after this, where they were able to showcase their versatility and talent. The cinematography from Adam Greenberg was solid, as was the music from Brad Fiedel, which became iconic and associated with this series. An emblematic film from a very talented storyteller.

After the surprise success of "X-Men", director Bryan Singer was given more time and budged to carve out a worthy sequel to that film, which came in the shape of "X-Men 2". The film follows the adventures of the superhero team, as they face a foe hailing directly from the Government: Colonel William Stryker. He invades the mutant school, capturing young mutants in the process, while simultaneously capturing different team members, in different circumstances, all with the goal of getting access of Cerebro. His ultimate goal, is to use the machine, combined with Professor Xavier's abilities, and destroy all mutants on Earth. It's up to the team, with the help of a few new additions, and unexpected allies, to tackle this herculean threat. "X-Men 2" is a lesson of how a perfectly honed screenplay, successful vision and visual style, can blend to create an impeccable action film. The story marries a series of interesting topics, such as political threats, persecution of minorities, and includes very relevant metaphors for topics such as coming out experiences and family dynamics in those contexts. All of these within the domains of a big budget visual effects film, is indeed pretty remarkable and quite intelligently built. The film is also impeccably edited, in the sense that it goes from action set pieces, to plot development, to character insight, just enough to keep the momentum going. The visual effects are also fantastic, but don't undermine the story/narrative, instead making it blend seamlessly with the characters that they pertain to. And the actors finally manage to build a level of comfort with the characters and within the group, which makes them surpass the almost campy factor that hovered over the first iteration of the series. It's a lesson on how to perfectly orchestrate a dynamic and thoroughly orchestrated film, without relying too heavily on pyrotechnics, while also benefiting from great work from cinematographer Newton Thomas Sigel and editor/composer John Ottman. A solid film from an irregular director, but one worth watching.

"Mary Queen of Scots" is director Josie Rourke's film debut, and she does so with the adaptation of of the book by John Guy, with a screenplay by Beau Willimon (well known for George Clooney's "The Ides of March" and the show "House of Cards", which has lasted 6 seasons on Netflix). The film follows the story of Mary Stuart, the only daughter of King James V, who was brought up in France, while regents took over the state of Scotland. She married the dauphin of France at 16, and found herself a widow at 18 when he died of complications of having an ear infection that morphed into a brain abscess. Mary who was brought up catholic, returned to Scotland, and took her place as queen, much to the concern of Elizabeth I, queen of England. Mary's goal was to become an heir to the throne of England, since according to some factions, she was the direct descendant of King Henry VIII's sister, whereas Elizabeth, was considered an illegitimate successor (being that she was the daughter of Anne Boylen). Mary eventually falls in love with her cousin, and marries him, baring a son by the name of James. While this occurs, she has to battle her half brother for control of the throne, while also uncovering some painful truths about her husband and her advisors. After her second husband is killed, Mary finds herself in yet another dangerous situation, which leads her to another painful alliance, and a confrontation with Queen Elizabeth.
"Mary Queen of Scots" is a film that has at its core, a fantastically rich historical backdrop to build a narrative about the thirst for power, and the ruthlessness of politics, as it was in the 16th century. On top of it all, it also has the interesting viewpoint of having two strong female points of view, battling for power, in a game rigged by men. It's a film that focuses on the challenges experienced by a young but strong monarch, someone who clearly knew where she wanted to go and above all, who she wanted to be, and a world and a political system that simply wasn't prepared or willing to aide her. The film is richly produced, and features a great central performance from Saoirse Ronan and equally strong supporting turns from Jack Lowden and Ian Hart, but overall it ends up being more illustrative, than captivating. The film lacks a strong point of view, and for a time frame that was so gruesome, cutthroat and violent, it's surprisingly lifeless. The supporting queen, played by Margot Robbie, also feels underdeveloped, particularly when compared with the richness that Shekhar Kapur's "Elizabeth" captured (and Cate Blanchett, so successfully portrayed). It's a perfectly well rendered film, but one that lacks a stronger perspective. The cinematography from John Mathieson is fantastic, as is the score of the stupendous Max Richter. It's a forgettable, yet watchable endeavor.

After the critical success of "The Lobster", director Yorgos Lanthimos returned with another disturbing tale, which made its premiere at the Cannes Film Festival (where it won the award for best screenplay). The film follows the story of Dr. Steven Murphy, a respected medical surgeon who lives a peaceful life with his beautiful wife and two children. Steven we come to know, has made friends with the son of a former patient who passed away, by the name of Martin. Martin visits frequently, and ingratiates himself in the family of Steven. Things take a sinister turn, when Martin explains that Steven will have to make a decision on whom to sacrifice within his family unit. He states that's the only way to balance life, since he believes Steven was responsible for the death of his father, and therefore restitution must be placed. Odd things start occurring to the Steven's children, who suddenly stop being able to use their legs, which according to Martin, is only going to escalate to something worse, before they finally die. Yorgos Lanthimos films are surreal tales that always expose the anguish of relationships between people (parental, romantic, familial), and how far people are willing to go to maintain the sense of composure and normalcy that they deem adequate. His stories and universe typically goes in the direction of unsettling scenarios, but all these tropes are allegories for what life actually is comprised of. "The Killing of a Sacred Deer" is at times, eerily similar in tone to Todd Haynes' "Safe", since the story starts going in an unexpected direction, but Lanthimos' definitely takes a much darker tonal mode, one that surfaces the human fallibility, and how consequences of actions are never actually measured, until one is confronted with them. It's a beautifully realized film, with strong performances from Colin Farrell, Nicole Kidman and Barry Keoghan (who is indeed a revelation), and featuring a stunning cinematography from Thimios Bakatakis. An impeccable film from a truly unique voice in cinema.

Director Adam McKay has returned, following the critical and commercial success of "The Big Short". Much like "The Big Short", "Vice" is a darkly satirical view at the world of politics in the US, this time around specifically focused on Dick Cheney. The film introduces us to Richard Cheney in the 60s, when he's a troubled youth, and is dating the beautiful and ambitious Lynne. After a second arrest for a DUI, Lynne gives him an ultimatum, one that puts Dick on a path to politics, where he eventually starts working for Donald Rumsfeld. He works in politics and in the White House through the 70s, including the fallout of Richard Nixon, navigating health problems, Democratic stints in power in the late 70s and 90s, until he comes back in full force as a Vice President, starting in 2000, where he holds more cards and power than ever before.
Unlike "The Big Short", where Adam McKay managed to create a compelling narrative, broken across different threads to fully explain the events behind the collapse of the world economy in 2008, "Vice" goes for a biopic structure, one focused on a key political figure, while simultaneously attempting to detail the machinations of power behind the political events in the US since the 70s. The film is darkly comical, shocking and also emotional, for what it untangles, but also because it does show the more human side to the story of Dick Cheney and his family (and the ambitions surrounding them). Unlike "The Big Short" the film is not as successful showcasing analogies, metaphors and the informational aspect to the story, as much as that film was."Vice" ends up being a testimony to a life spent pursuing power, however unlike "The Big Short", it lacks the satyrical tone, and the borderline absurdity that permeated that film in certain parts. It does however feature a truly phenomenal performance from Christian Bale, who is completely unrecognizable in the role, and who truly embodies and personifies a man in his 60s, in love with his pursuits, and with his family. Amy Adams, Steve Carell, Sam Rockwell and Alison Pill are all equally compelling in their performances. The cinematography of Greig Fraser is fantastic, as is the score from Nicholas Britell. It's a compelling film, driven by a director with a point of view that deftly mixes comedic elements with informational ones, but this time around, the performances come across as the strongest element about it. Worth watching.

Danish director Susanne Bier has made a name for herself with quite a few successful features, namely "Brothers" (which was remade by Jim Sheridan) and more recently "In a Better World", which won the Academy Award for best foreign film. Following the troublesome "Serena" with Bradley Cooper and Jennifer Lawrence, "Bird Box" is his first feature in 6 years. The film is another production from Netflix, and follows the story of Malorie, who when the film starts, is pregnant, and going to a routine checkup with her younger sister, Jessica. During their conversation they witness on the news a strange incident being reported - massive suicides occurring everywhere, unexpectedly, and seemingly all over the world. After learning everything is well with her pregnancy, Malorie and Jessica head back home, until Jessica is hit with the same virus/issue, causing them to suffer an accident, shortly followed by Jessica's death. Malorie manages to escape to a nearby house, where a few other survivors are taking hideout. The group soon realizes that whatever the virus or menace is, manifests itself through the eyesight, prompting them to start using blindfolds to walk around when outside. As the group suffers casualties, Malorie finally finds herself pursuing a hopeful chance of salvation, one that includes a dangerous journey down a river.
"Bird Box" has been compared to John Krasinski's "A Quiet Place", but even if there are some tonal similarities between both films, Krasinksi's film goes in a far showier direction than "Bird Box". Susanne Bier focuses on showcasing the ordeal of these challenges, but more circumspect to Malorie's journey (both her inner journey towards her acceptance of motherhood, and outwards, in the sense of Malorie finding an actual physical shelter for her family). The film never explains the reasoning behind the strange occurrences, or even provides a visual of what that menace actually is, which in the end is actually quite satisfying, since it makes the whole journey more focused on the resilience of the characters, more so than in the unveiling of whatever threat or alien or virus actually is or comes from. This isn't a monster film - it's a character study on how people survive in extreme circumstances, and how the bonds of motherhood are forged and nurtured. The film is really strong when it builds the relationships between all the survivors, and there's so much more material to mine from that set up, but sadly it quickly moves on to focus solely on Malorie. There isn't enough that gets flushed out from the central character, and even details such as the passing of time doesn't seem to affect the physical and emotional aspect of the character at all, but Sandra Bullock still manages to give some depth and gravitas to Malorie. The cinematography from Salvatore Totino is beautiful as is the score from Trent Reznor and Atticus Ross. Entertaining and worth watching.

Following the success of "The Conjuring 2", director James Wan is back, this time around tackling a comic book movie, with the adaptation of the classic character, Aquaman. The film follows the story of Arthur Curry, who we learn is the son of a lighthouse keeper, and Atlanna, queen of Atlantis, the mythical underwater realm. In the present times, Arthur goes under the moniker of Aquaman, and helps those in need, but that suddenly changes when he is approached by the beautiful Mera, who warns him that his half brother Orm, wants to declare war on the surface world. In order to establish a balance, Arthur has to uncover an ancient artifact, that grants him power over all underwater creatures, and allow him to rightfully take his place by the throne. He and Mera are however being chased by Orm and his posse, who will stop at nothing to capture and bring them in.
"Aquaman" is quite possibly James Wan's biggest budget endeavor so far in his career, but coincidentally enough, also the most generic and least successful, narratively speaking. It's shocking that a film that has so much production values and visual effects, is surprisingly so threadbare when it comes to creating an engaging story, one that is polished, fresh or enticing. There isn't a single cliché that is untapped in this film, and sadly they're all touched upon with a level of taste and lack of restraint that is very surprising, considering the films that James Wan has directed and released so far in his career. There's a cacophony of visual styles and aesthetics, that makes this film at times look like a carnival, one that mixes James Cameron's "Avatar", Steven Spielberg's "A.I." and even Joseph Kosinski's "Tron: Legacy". It's a film that also suffers from pacing issues - for a feature that jumps around, from location to location so quickly (and seemingly instantaneously), it drags on for what it seems an eternity (the film runs for 135 minutes, but it feels like 195). There are some positive points, namely the beautiful cinematography from Don Burgess, the costumes from Kym Barrett (who usually works with the Wachowski siblings) and the stunning visual effects on display. The cast is mostly underused, with Willem Dafoe and Nicole Kidman basically lost and perplexed at the material they're having to work with, while the equally talented Patrick Wilson does what he can with a cartoonish villain role. It's a hollow endeavor, one that even when it tries to engage on actual problems such as ecology, ends up pushing those to a footnote. It's a pass, from an intelligent director, who this time around, got swallowed up by the material.

After the disappointing "Hail, Caesar!", the Coen brothers return with a film written, produced and directed for streaming giant Netflix. The film is an anthology of short stories taking place on the old west, varying in tone, length and focus. The first segment focuses on Buster Scruggs, a deft, resourceful and somewhat ruthless gun slinger, who rights some wrongs, and who eventually finds his match. The second segment follows the story of a Cowboy, who following an unsuccessful robbery attempt finds himself at the mercy of the law, only to be rescued right before being hanged, but who then immediately falls under the law's long embrace. The third segment follows the story of an Impresario who goes from small town to small town with an artist, who basically performs and narrates poems/plays in order to make a living for the both them. The fourth vignette focuses on the story of a Prospector, who is aiming to discover gold. He eventually finds what he is looking for, only to be confronted by a young man intent on getting what he has discovered. The fifth segment tackles the story of Alice Longabaugh, who is moving to Oregon, with her brother and her dog, in the hopes of settling and starting a new life there, with a potential associate of her brother's. However during the journey, he passes away, and Alice has no money to pay the young cowboy handling her caravan, and she falls under the protection of kind and considerate Billy Knapp. The sixth segment follows a group of characters, all traveling within the same stagecoach, and who come to realize that the two finely dressed gentlemen who are part of the group, are bounty hunters, and are in reality carrying with them someone they've hunted down.
"The Ballad of Buster Scruggs" is an uneven film, much like a lot of the films that are part of the Coen brothers extensive body of work. However it's also a film that allows them to paint stories quickly and to the point, which at times feels like one of their initial trademarks (which they displayed on "Raising Arizona" for instance). The stories/vignettes that they illustrate, are uneven, and the characters very economically presented, save for the most interesting and juiciest segment, which features strong performances from Zoe Kazan, Bill Heck and Grainger Hines, the segment under the title "The Gal Who Got Rattled". If most segments feel superficial and mostly impeccable illustrations of two directors who have a somewhat surreal sense of humor and comedy, the most dramatic ones suggest more to explore, though that's never the direction that the film embarks on. There's a somewhat uneven tone to the stories, though the dark humor permeates throughout, ultimately making them watchable (though not sufficiently memorable). The cinematography from Bruno Delbonnel is stunning as is the score of Carter Burwell. Another well executed, yet forgettable endeavor from a talented directorial team.

Director Audrey Wells initially made a name for herself as a screenwriter, with a series of well received films during the 90s, which included Michael Lehman's "The Truth About Cats and Dogs" and also Sam Weisman's "George of the Jungle". Her first directorial effort, "Guinevere", was also very well received, and featured another great performance from Sarah Polley. She followed that feature with "Under the Tuscan Sun", which was made right at the heels of Diane Lane's first Academy Award nomination for Adrian Lynne's "Unfaithful". The film follows the story of Frances, a writer whose life is suddenly turned upside down, when she finds out her husband has been having an affair. After a messy divorce, Frances is convinced by her best friend, to embark on a tour of Tuscany. While doing the tour, she falls in love with the area of Cortona, and ends up buying a dilapidated villa. She embarks on a fixer up project, while getting to know her neighbors, making friendships and possibly embarking on a romance."Under the Tuscan Sun" is a lively film that lives and breathes from the endless charm, talent and beauty of Diane Lane. It's a story of a woman pursuing her dreams, of taking a chance, just when she thinks that the chapter of life devoted to happiness is closed. It's not exactly a radically different narrative, but the film anchors its interest on the fact that it has a beautiful locale, and a central performance that is nuanced, showcasing enough grief, warmth and hope, to make Frances more than a simple cliché character. The film does go through the tropes of the romantic comedy mechanism, but it's a film that is charming enough to be quickly savored and quickly forgotten, save for the presence of Diane Lane. Nicely entertaining and worth watching.

Prolific director Yorgos Lanthimos is back, following the well received "The Killing of a Sacred Deer", which premiered in 2017. The film based on true facts, follows the story of the relationship of Queen Anne with Lady Sarah Churchill and Churchill's destitute cousin, Abigail, in the 18th century.
We're introduced early on to the three characters, as Queen Anne shares an intimate (and amorous) relationship with Sarah, who in turn uses her leverage with the Queen to get what she wants politically. The Queen has issues with her health, something that Sarah also uses to keep her under her control. Abigail, destitute and without means of survival, notices the mechanics of this relationship, and starts ingratiating herself on the good side of the Queen while simultaneously plotting the downfall of Lady Sarah. These games keep escalating, until matters take a sharp turn, something that Abigail seizes to further her position and influence.
Yorgos Lanthimos has managed to create a career peppered with surreal events, that in the end, showcase the ironic, brutal and at times, destructive nature of human relationships. Some of his stories take place in different realities that are in turn, metaphors for the current human condition. "The Favourite" is very much like that, even if it looks to the past to build a bridge to how relationships are established between people in the present. These three women use power, sex, and virtually every game possible, to get attention, and ingratiate themselves in positions of privilege and influence. As some grow in importance and credibility, others flail and falter, all of them losing themselves and their integrity in the process. It's an apt metaphor for our times, for how quickly people grow in importance, all based on shallow feats and promptly riding the coattails of someone else. It's a film with a powerful message, powered by an energetic cast, where Olivia Colman and Rachel Weisz in particular invest their characters with an energy, romance, longing and sadness that is unlike anything they have done in the past. The cinematography from Robbie Ryan is fantastic, as are the phenomenal costumes from the always stupendous Sandy Powell. A very good film worth watching, from a truly unique voice in film.

Celebrated director Alfonso Cuaron is back, following his hugely successful latest endeavor "Gravity", which garnered him the directorial Academy Award in 2013. This time around the focus and scope of the film is definitely in smaller scale than the previous one, but no less rewarding. The film follows the story of Cleo, a young housemaid for an affluent Mexican family in the early 70s. Cleo lives with a large family, taking care of the children, since both parents work. Her daily chores keep her regularly busy, but she still has time for a personal life, including dates with a young man who is very much enraptured by her. As life changes in the household, so does it for Cleo, who suddenly sees herself in an unexpected situation, but who finds nonetheless the support, love and care from the family she has always provided for.
"Roma" is an autobiographical film for the director, who captured his childhood and the relationship he had with his family's housemaid/caregiver during the early 70s. It's a film stylistically stunning, featuring a beautiful cinematography, one that captures a time that has gone by, without making it ostensibly reverential, but more like a time capsule - the Mexican daily life for an affluent family in the 70s. It's a film focused on observing life, the daily chores, the relationships between people, how love united this group of people, allowing them to move through challenges and even political upheavals, without unraveling what the concept of family truly was. Even if the film focuses on Cleo, there's however a certain lack of depth in how her character actually gets captured - the camera shies away from probing deeper, it always stops just close enough. In a way, this film is like going through a beautiful photo book, one that illustrates the life of a family, but without really going deep enough to make us understand the aspirations, dreams and desires underlying its members. It's perfectly captured, with impeccable production design, and acted with just enough naturalism to render the film beautifully and authentically. It's a strong snapshot from one of the most technically virtuous directors working today.

Actor and Director Brady Corbet has followed his debut feature "The Childhood of a Leader" with this observation on violence, the price of fame, the instantaneous and quickly forgotten nature of current events (even dramatic ones). The film follows the story of Celeste, a young girl who in 1999 experiences a traumatic event, when the high school where she goes to experiences a dramatic and traumatizing shooting rampage (from one of her classmates). Celeste suffers a serious gun-wound, and while recovering in the hospital, composes a powerful anthem with her sister Ellie. The song captures the attention of talent scouts, and soon Celeste has an agent, and her career quickly skyrockets, always with the assistance of her sister. The film then jumps to 2017, and Celeste is now a recognized public figure, with a teenage daughter, and she's releasing a new album, after a few dramatic occurrences in her personal life. We accompany her in the day she's about to start touring, and we get to witness her handling the press, her family, agent and fans.
"Vox Lux" is an interesting even if a bit uneven of a film, but one that is memorable immediately for three things: stylistically the film is impeccably shot, the score from Scott Walker and Sia is fantastic, and the film features a cracking performance from Natalie Portman, unlike any of her previous work. Brady Corbet manages to capture the evolution and the arc of Celeste from her early childhood, through her challenging adolescence, and finally her somewhat bitter adulthood. It's a film that goes in a different direction from what Bradley Cooper did with "A Star is Born": where this latter film went for a certain naturalistic approach, Corbet goes for a stylized observation on fame, instant recognition, and the fleeting attention span that arrests people's attention. It's a film that has sections possessed of a voice and point of view that are strong and arresting, namely the relationship between the sisters, but also a bit uneven in how it gives Celeste some dubious rantings and monologues that are seemingly philosophical, but that end up a bit hollow. The film hits its strongest notes when it lets Natalie Portman shine, and she gets an opportunity to create and inhabit a performer from Long Island who is somewhat loud, out of control, but also effective on putting on a show. The cinematography from Lol Crawley is beautiful, perfectly capturing the different modes of Celeste's life. It's a very interesting film from a young director.

Director Brad Peyton and actor Dwayne Johnson return, following their previous successful collaboration, "San Andreas". This time around, the film follows the premise of a scientific experiment going terribly awry. The film introduces us to a scientist in space, who perishes trying to evacuate the station and carrying with her the results of her research. When her shuttle is destroyed, the results of that research crash land on earth, come in contact with and mutate a few animals. One of them is George, a silverback Gorilla, currently being taken care of by Primatologist Davis Okoye. George starts increasing his physical size, the same going for the other animals that came in contact with that debris. That debris is property of a company under the ruthless tutelage of Claire Wyden. When she summons the animals to Chicago, it's up to Davis, with the assistance of Kate Caldwell to try to discover the antidote, save George and prevent the city from being completely destroyed.
"Rampage" is loosely based on the video game by the same name, and ends up being a film as hollow as the game upon which it's based on. Director Brad Peyton focuses primarily on the action set pieces, leaving the character development under-nourished. Whatever sketches are on screen, exist mainly due to the actors charisma and capability to be engaging, since the script provides no substance to any of the characters that are suppose to be the human element of the film. Peyton hasn't learnt much from Roland Emmerich, who is the director typically in charge of big catastrophe films, since at least on Emmerich's films, there's an attempt at building a rapport between the characters. "Rampage" is mostly a canvas to showcase the excellent visual effects, and they make the chaos and destruction look plausible, the same occurring for the gigantic creatures (the film is oddly reminiscent of Emmerich's "Godzilla" in some parts). It's unmemorable and a sad waste of talent for everyone involved.

"Underworld" is the directorial debut of Len Wiseman, who made a name for himself directing music videos for the likes of Megadeth and Rufus Wainwright. The film follows the story of Selene, a death dealer, a vampire who has been tasked with hunting down Lycans (werewolves). In one of her outings, Selene comes across Michael, a young medical student, who is being targeted by the Lycans, for reasons that are unknown to her. As she starts to trace what is happening, she comes to realize that the web of deceit and treachery looms all around, including in her own coven. She decides to awaken one of the elders, in order to provide guidance, but that awakening has unexpected results."Underworld" was a low budget foray into the vampire genre, one that was insightful and successful enough to generate interest, and that has multiplied to 5 other sequels (so far). The film mixes the vampire mythology, with a Romeo and Juliet type of love story (opposing factions falling in love), and it does so with an aesthetic and stylistic approach that makes it stand out a bit more than previous versions this story might have had. The story of Selene and Michael, and how their paths cross, is somewhat predictable, but the director manages to stage the events in a surprisingly effective way, with a tone that borderlines on a B-movie with a slick gothic style, that fits this unpretentious story perfectly. The characters are rough sketches, and some of the actors don't get to do much, but the film is exciting enough, particularly when the great Bill Nighy enters the narrative. The film introduces this universe, without much backdrop explanation, but again, it's efficient in making the opposing factions seem vivid and motivated. It's not much of a start, but it's fairly entertaining, for a director who knows how to cultivate a slick B-movie aesthetic and approach to his films.

Directors/producers Fenton Bailey and Randy Barbato have made a name for themselves with a prolific output of TV shows, but have also gained accolades with their documentaries which have included "Party Monster" (which they later made a fictional film out of), "The Eyes of Tammy Faye" and "Inside Deep Throat". "Mapplethorpe: Look at the Pictures" is a thorough view of one of the most controversial artists of the 70s and 80s, photographer Robert Mapplethorpe. The documentary details his humble beginnings in New York, his academic experiences, all the way through his association and relationship with the iconic Patti Smith. The film also trails his relationship with Sam Waggstaff, and his progressive fame, ambition, and how that trickled across his personal relationships, both amorous and familial ones. The documentary also captures the reality of the art world in New York, both in the 70s and 80s, and how the queer movement, sexual liberation played a large role in Mapplethorpe's art (and how he, and his point of view, also played a role in bringing awareness to queer artists). It's a documentary that vividly portrays an ambitious and talented artist, but one that doesn't solely portray a single side to Mapplethorpe - in the end, it presents him as someone deeply humane, with flaws, longings and fears, just like everyone else. And it does so, while also showcasing the beautiful work of someone who has brought so much attention to Photography as an art form. An excellent documentary worth watching.

"I Feel Pretty" is the feature directorial debut for Abby Kohn and Marc Silverstein, after a prolific career as screenwriters for mostly comedies, which has included Raja Gosnell's "Never Been Kissed", Ken Kwapis' "He's Just Not that Into You" and Garry Marshall's "Valentine's Day". The film follows the story of Renee Bennett, a professional knowledgable woman, who has always felt insecure about her looks. She works for a cosmetics company in their e-commerce arm of the business. After a freak accident at a spinning class, Renee is delighted to realize, upon looking in the mirror, that she's absolutely stunning - she's under the impression her body has gone through a profound change (that only she can tell). This new realization reinvigorates her ambition, passion and self-worth, making her pursue what she wants in her career and personal life, and in the process inspiring her boss, Avery, to also take chances and have a voice of her own.
"I Feel Pretty" feels at times like two films competing for the same real estate or screen time. On one hand, there's the Amy Schumer led storyline, which feels like it wants to be riskier and edgier, and on the other hand, there's the more sanitized and conventional plot, which all the trappings of a mediocre romantic comedy, which is what the film ends up embarking on. What has always been interesting about Amy Schumer, the central performance of the film, is how her type of comedy oscillates between the self deprecating, self mocking and inadequacy, and the strong voice she brings to women who don't feel the need to be fitted in a particular cliché or role. The film which is perfectly tailored to her strengths, and features a lot of her accomplices from her sketch show, sadly dims the edgier material she thrives on, going instead for a tone that is predictable, sugary and instantly forgettable. What made her "Trainwreck" film so interesting, was the opportunity it gave her to balance the rougher sides of her personality, with the sweeter, all under the guise of a romantic comedy. This film mostly feels like someone shaved almost everything that has always made her an interesting voice in comedy, in order to make a palatable comedy to please "everyone". In an attempt to reach a wider canvas, this film has turned out to be completely anonymous. The supporting cast doesn't really stand out much, with the exception of the talented Michelle Williams, who even in a small role, proves that she has a versatility that continues to impress. A missed opportunity.

Director Sara Colangelo has followed her feature directorial debut with "The Kindergarten Teacher", which made its debut at the Sundance Film Festival, and went on to premiere on Netflix. The film follows the story of Lisa Spinelli, a kindergarten teacher who is currently enrolled in adult classes, specifically literature ones (with a focus on poetry and creative writing). While Lisa seeks those classes as an outlet for her creative endeavors, the results are somewhat lackluster. Her family life is also somewhat placid, with her teenage children getting ready to tackle the challenge of college life, while her husband quietly supports her endeavors. Lisa is perplexed one day to hear one of her young students, the little Jimmy, who is all of 5 years old, express eloquently a poem he has created. Lisa recites the poem on her class, where the reception is unanimously favorable and borderline enthusiastic. Lisa becomes increasingly focused on the life of Jimmy, and making sure his precocious talent doesn't go to waste.
"The Kindergarten Teacher" is a remake of an Israeli film from 2014 with the same name. In this case, director Sara Colangelo creates a universe where the central protagonist, Lisa, looks tired and worn out by a life of having her voice tampered and muffled. The bond she creates with Jimmy, is mostly driven by her need to make sure that the precocious and talented young boy doesn't get crushed by life as she has been. Nothing about Lisa suggests a hardened existence, fraught with complications - there's instead a longing to being heard, understood, and being able to express herself in a way that is true to her inner workings. It's a film that uses the fantastically talented Maggie Gyllenhaal to build a portrait of a woman whose inner voice was lost at some point, due to family and other obligations, and who suddenly is reawakened, and loses her grip on reality. It's an impeccable character study, of a less than a perfect character, all the more rewarding precisely due to that.
The supporting cast is uniformly good, from Michael Chernus, Gael Garcia Bernal and the young Parker Sevak. Worth watching and discovering.

After the poorly received "The Beach", director Danny Boyle and writer Alex Garland, returned with the fantastic "28 Days Later". The film follows the story of Jim, a bike messenger who wakes up in London, following a near fatal accident. As he roams the city, he notices that London is completely deserted. Jim also discovers that a virus has decimated almost the entire population of the country, save for a few pockets of survivors. He is rescued by Selena, when he is attacked by a series of individuals infected with the virus. She informs him of all the events, and they eventually find solace with a father and daughter duo, Frank and Hannah, both of whom are isolated in their apartment. All 4 of them decide to head out, and seek other survivors up north, where apparently there's a rescue center, and where the infection hasn't made its way.Danny Boyle is a masterful storyteller, one that has been able throughout his films, to find unique stories to tell, that perfectly marry his sensibility and aesthetic. "28 Days Later" is a perfect example of that. Behind the facade of a zombie film, Danny Boyle builds a story that is a testament to the best and worst that can be found in human nature, respectively the kindness/giving nature, and the antithesis, in the shape of the violence, greed and brutality that they can exhibit. It's a film that also manages to explore to a perfect point, the virtuosity of digital cinema, by giving it a documentary style that makes the film feel real, particularly considering the apocalyptical aspect of the narrative. The relationship between the central characters is also built in a way that makes everyone feel and look realistic and not super heroes, or self-aggrandizing characters. It's a perfect mix of the fantastical with the realistic, something that Danny Boyle has mastered in his features almost to perfection. The film is also excitingly shot by Anthony Dod Mantle, and the central performances from Cillian Murphy, Naomie Harris, Brendan Gleeson and Christopher Eccleston are all fantastic. A great film from a terrific director.

Jonathan Mostow made a name for himself with "Breakdown", which turned out to be an unpretentious and successful film in its own right. "Terminator 3" is of course the sequel to the highly successful "Terminator 2", which director James Cameron tackled and was released in 1991. This time around, the story focuses on John Connor who is a young adult, and who has been living off grid ever since the occurrences from the second film. All of this changes when two terminators arrive. One is of course, intent on destroying him, and his generals, and the other one, is the more archaic and familiar, T-1000, who saved John as a child. In the process, John and the T-1000, capture Kate Brewster, whom John quickly learns is bound to become his wife in the future. It's up to the three of them to prevent the destructive power of the new terminator, and prevent Skynet from nearly destroying all human life.Jonathan Mostow smartly decided to tackle this property from the perspective of a slick B-Movie. This means he has managed to deftly capture the main characters, and quickly define the cat and mouse game that drives most of the film. "Terminator 3" doesn't have the ambition and scope of the previous two entries in the series, but manages to poke fun at itself, with a lot of humor and just enough heart to make it entertaining. The film does borderline at times on self mockery, but pulls back just in time, making it an enjoyable feature that is as easily watchable as is forgettable. The cast is adequate, with Claire Danes bringing her intensity to a role that is somewhat underwritten. The cinematography from Don Burgess is great, as is the impeccable editing by Neil Travis and Nicolas de Toth (those chase sequences are impeccable). A fun film worth watching.

About Me

Joao Pedro Canhenha is a UX Creative Director and Lead Product Designer (UI/UX/Visual Design) who has started developing projects in the Interactive arena since the year 2001. Since then, he has worked on a wide variety of projects, of different natures and in different conditions. The path has been utterly rewarding and as a result it has been a constant growth experience, one always filled with discovery and enlightenment. Ultimately the goal has always been the same: providing solutions that are rewarding and that meet what the client/project aims for. Something unique, specifically conceived and always functional. The goal is to continue developing projects that reach wider audiences, that bring satisfaction to clients and ultimately find the balance between functionality and technical expertise.